VIVID: JOURNAL OF LANGUAGE AND LITERATURE - VOL. 8 NO. 1 (2019) Available online at : http://jurnalvivid.fib.unand.ac.id Vivid: Journal of Language and Literature | ISSN (Online) 2502-146X | Literature The Uniqueness Heroines Depicted In Gillian Flynn’s Novels Entitled Gone Girl And Dark Places Siti Alifah Tamir1, Diah Tyahaya Iman2 1,2English Department, Faculty of Humanities, Andalas University ARTICLE INFORMATION ABSTRACT Received: November 05, 2018 Revised: January 22, 2019 This article is aimed to study the uniqueness of female character Available online: March 28, 2019 or heroine in Gillian Flynn’s novels entitled Dark Places (2009) dan Gone Girl (2012). The concept of heroin and gynocriticism approaches is used to examine the uniqueness of the main KEYWORDS character in both novels. Amy Dunne in Gone Girl and Libby Day Heroines, Females Character, pada Dark Places can be considered as antiheroine. From the result Gynocriticism Approaches of the analysis, it can be concluded that Flynn introduced an CORRESPONDENCE interesting female characterization. The anti-heroine characters E-mail: [email protected] are portrayed in an intriguing plot. She presents woman as offender and sexual manipulation interestingly. The exploration of feminine vulnerability to undermine the dominancy of masculine privilege has brought the themes of both novels to. INTRODUCTION Woman struggles in seizing equality and justice on second-half of twentieth century are surrounded by some significant movements in certain field, such as in politics, household, career and education. The women writers have to appear through a variety of literary works as a statement that women also have the similar chance and capability to create masterpieces of work like male author or famously classified as literary canon. One name of female authors who contributes in crafting female literary canon in contemporary literature is Gillian Flynn. She is known for her works such as Sharp Objects (2006), Dark Places (2009) and Gone Girl (2012). Flynn’s Dark Places got several prestigious awards like New York Times bestseller, New Yorker Reviewers’ Favorite, Weekend Today Top Summer Read, Publishers Weekly Best Book of 2009, and Chicago Tribune Favorite Fiction choice. In 2015, the movie adaptation starring Charlize Theron was released. Flynn’s last novel, Gone Girl [1], is also celebrated as an international sensation and being New York Times bestseller lists . Gone Girl was named one of the best books of the year by People Magazine and Janet Maslin at the New York Times. Nominated for both the Edgar Award and the Anthony Award for Best Novel, Flynn wrote the screenplay for David Fincher’s adaptation of Gone Girl [2] for the big screen, starring Ben Affleck and Rosamund Pike. Attribution-NonCommercial 4.0 International. Some rights reserved VIVID: JOURNAL OF LANGUAGE AND LITERATURE - VOL. 8 NO. 1 (2019) Unsurprisingly, there must be certain reason behind Flynn’s achievement in these novels. Things that make readers wonder and awe through her literary devices such as characterization, plot-building or hidden themes. At the first sight, Flynn provides the reader an adventure of irony behind the story of Libby Day as a female main protagonist. Libby is a girl who survived the serial murder in Texas in 1985. As the fortune ones, adult Libby in contrary grows up as a wasteful human being who has no purpose of life, a cynic, kleptomaniac, cold-blood and idler as she concedes “I was not a lovable child, ... unlovable adult. Draw a picture of my soul, and it’d be a scribble with fangs”. Through this characterization, Flynn creates an ironic character which is not sympathetic at all. Furthermore, Flynn continues the exploration of irony in Dark Places. Intend to get profit from the story of thee terrible murder of his family, Libby somehow traps in a mission to free Ben Day as wrong-accused killer of his family. This is where the height of the conflict presented by Flynn. Libby was a key witness who pushed Ben to jail for twenty four years. Sardonically, Flynn puts Libby as the only one who could liberate Ben Day from prison [2]. Set of irony which is presented by The Days in the Dark Place makes this novel becomes interesting to discuss. In terms of character, Libby Day was within the limits of a hero(ine) and villain. Libby’s awful characterization must deal with her noble mission, to save Ben Day. Libby’s trip is like a hero’s journey due to deliberating Ben from more regretful punishment. Also, the salvation acts of Patty Day and Ben Day still leave room for debate whether good or bad. In the second novel, Gone Girl, Flynn retains the bizarre devices that are similar with Dark Places. In terms of characterization, Flynn promotes Amy Dunne as the female protagonist. Throughout the story, Amy Dunne is described as wicked wife who wanted to punish her husband over evil plan which is arranged exceptionally brilliant. Motive that encourages Amy to do this vicious plan is a trivial issue, that is “to taught Nick a lesson” [1]. In this case, Flynn pushed her heroine character to beyond the limits to do as far as possible, in order to satisfy personal desires and fulfillment. Aside from its main female character portrayal that is really appalling, Gone Girl also challenged their readers through the series of plot-twist that arranges implicitly in plot. At the beginning of the story, Flynn dictates the readers to sympathize poor Amy as a victim of her abusive and ignorant husband, Nick. In the middle of the story, Flynn effectively deprives the reader’s sympathy toward Amy after revealing that Amy falsified her suffering for the sake of personal ambition. At the end of the story, Flynn totally swipes away reader’s sympathy when the novel unmasks the real face of both sides, Amy and Nick. In this term, Flynn manipulates the reader’s sympathy and sentiment through the falsehood of the two main characters. The last aspect that astonishes Gone Girl’s reader is the celebration of violence and explicit sexual visualization. In the story, Amy is deliberately toying with the fragility of American’s paradigm toward violence against vulnerable women, the myths of pregnancy, and sexual exploitation as Amy acknowledges “America loves pregnant woman” [1]. Flynn purposely ignores the moral barrier that always hindering woman writers to talk about it, celebrating it or even utilizing it as literary devices. In this phase, Flynn tries to break the old tradition and the dominance of men in using or exploring trickery, violence and sexuality in pieces of literature. What is more, with grounding in theory and historical research, Showalter sees Gynocriticism 20 VIVID: JOURNAL OF LANGUAGE AND LITERATURE - VOL. 8 NO. 1 (2019) as a way to “learn something solid, enduring, and real about the relation of women to literary culture” [3]. Gynocriticism is also “a theory of culture that incorporates ideas about women’s body, language and psyche but interprets them in relation to the social context in which they occur” [4]-[6]. Women’s culture and men’s culture are represented by two interesting circles. One of these is specific to women and the other is specific to men. Historically women have been the muted group and men the dominant group. Showalter adds that feminist theories need to articulate the area specific to men and put it at the centre of women’s writing. Showalter believes that one of the great advantages of women’s culture model is that it shows how the female’s tradition can be positive source of strength as well as a negative source of powerlessness. Showalter mentions the same point in women’s history of literary creation saying that women have traditionally been considered as “sociological chameleons” who have historically been allowed only to adopt lifestyle, class, and culture of their male counterparts. Showalter considers that without apprehending the framework of female subculture, one would either totally miss or simply misinterpret the themes, motifs and structures of female literature and would finally fail to make necessary connections within a tradition. The uncovering of the female subculture and exposition of a female model is the intention of Gynocriticism. In two acknowledged dictionaries, Merriam-Webster and Oxford English Dictionary note that the word “anti-hero” was first used in 1714 [7]. Oxford English Dictionary offers a list of early works in which the earliest source is The Lover by Sir Richard Steele. In this work, the author, who is complaining about his wasteful age, discusses how the notions of heroism have changed as men chasing after women are insensible of love and do not respect females. He calls them brutes and continues: “I shall enquire, in due time, and make every Anti-Heroe in Great Britain give me an account why one woman is not as much as ought to fall to his share; and shall show every abandoned wanderer, that with all his blustering, his restless following every female he sees, is much more ridiculous” [9]. Abrams describes antihero as “the chief person in a modern novel or play whose character is widely discrepant from that which we associate with the traditional protagonist or hero of a serious literary work. Instead of manifesting largeness, dignity, power, or heroism, the antihero is petty, ignominious, passive, ineffectual or dishonest” [5] . J. A. Cuddon notes that the history of literature is full of fictional heroes who have been granted noble qualities and virtuous characteristics. However, the antihero is usually the one who is given the ability of failure [6]. An antihero might not have high moral standards, and might be indecent unlike the traditional principle character of mythology, folklore or legends.